Annie Pearlman

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Artist Statement

My visual work is about a feeling of place. My paintings mix expressive represen- tational elements with plastic, high-key color abstraction to communicate a location’s space and mood. For the last ten years, the place I represent most in my paintings is in view of a city. Besides the connotations of an urban landscape (opportunity, energy, denseness), I love how a building can be referenced simply by organizing rectangles within rectangles. I mix and stretch recognizable forms with abstracted and non-repre- sentational elements that I feel contribute to evoking a specific mood. I often show mul- tiple views at once, as unseen but understood surroundings contribute to our emotional experience of a location.

While working, I allow room for casual experimentation. I play around with ab- stract impulses and expand upon the experiments that add to the plasticity of a compo- sition and / or mood of a piece. Sometimes these experiments serve as the template for a work; for example, many paintings have been based off of loose, small sketches. Col- or relationships help flesh out experimental impulses, and color on color relationships create plastic visual dynamism, often dictating the shape they take. I strive for my paint- ings to operate both as a whole as well as in parts, giving it the longevity of rediscovery through various combinations of relational push / pull play.

There are many opposites coexisting in my visual work. City is mixed with wilder- ness, interiors with exteriors, and illustration with abstraction. The balance and mix of these differences interests me a lot, perhaps because I am from the country and cur- rently live in the city, and wish to be in both places at once, or be on the border of both. People talk about balance as a way to deal with the dichotomies of life, and in my fan- tastical locations, the balance of opposites is at play. The ratios may fluctuate, but you don’t have to choose one for the other. The ambiguities created where the opposites border and blend are very exciting to me, as a little confusion sparks extra considera- tion.

My parents are dedicated abstract oil painters working under the theories of Hans Hoffman. They raised me at the Vermont Studio Center, an artist residency pro- gram, where my father worked. My parents school of thought, dedicated practice and the creative privilege from living at the Center has been a huge influence on me. I have painted most of my life, but also spent equal time working in music and video. I attended film school for my undergraduate degree, where I focused on audio. Today, I often think in terms of my music and video-making process while drawing and painting and, vice versa, I think about my drawing and painting process when working on music or videos. I find it useful to consider the process and lessons of one discipline while working on another, and testing which methods can be usefully applied cross-disciplinarily. Thinking in terms of music has always been helpful for me, perhaps because it is the most inher- ently abstract of the three art practices I participate in, and also, arguably the most pop- ular, ubiquitous, and inviting of all of the arts. Some may argue TV and movies are more immediate than music, but music is usually an integral part of those formats, coloring what we are meant to feel through mostly abstract means. In my work experience as a music supervisor, my job is finding the right music to enhance a project (usually movies and ads). Narrative lyrics are often requested for a project, but it’s never more important than finding the right instrumental musical “vibe” necessary to enhance the director’s vision, and that “vibe” is innately abstract, meaning it elicits emotion
without any narrative reference. Music conveys mood so effectively for me, that I try to apply ideas of abstract composition with everything I do.

In my video work, I often incorporate animation and live action video with my drawings and paintings as animation backgrounds, and all set to my own musical com- positions as score. While the live action and animated videos I collage provide a lot of concrete information, I never really tell a full narrative, in a beginning, middle and end sense. Rather, I allow various “slices of life” or non-related scenes to convey an emo- tion. Again, I choose to incorporate non-narrative means to relate mood effectively.

CV

EDUCATION
2000-2003
B.F.A. in Film, New York University, Tisch School of the Arts

SOLO AND TWO PERSON EXHIBITIONS 
2016
Rarea. White Columns, NYC
2015
PMAN Plus, Annie Pearlman in collaboration with PAT Projects. Small Editions, Brooklyn, NY
2014
Paul Kopkau and Annie Pearlman: Up All Night. 321 Gallery, Brooklyn, NY
2013
Inside The Groove. Dem Passwords, LA
Kristina Lee and Annie Pearlman: The Broadway Boogie Woogie. Malraux’s Place, Brooklyn, NY
2012
Close To Everything. Tomato House Gallery, Brooklyn, NY (artist run space)

GROUP EXHIBITIONS 
2016
Goulding The Lolly, curated by Brian Belott. Gavin Brown’s Enterprise, NYC
NADA booth for Water McBeer Gallery, NYC
Outside. Karma, Amagansett, NY
2015
Let’s Get Figurative. Nicelle Beauchene Gallery, NYC
Feminine Rule, curated by Lindsay Beebe. Tarot Society, Brooklyn, NY
Charmed, curated by Tamara Gonzales and Maggie Lee. Shoot The Lobster, NYC
Finally Every Dimension of the Soil, curated by Michael Assiff and Bradford Kessler. American
Medium, Brooklyn, NY
Third Heat, 4 person show with Gina Beavers, Brian Belott, and Torey Thornton. Canada, NYC
2014
Brucennial, NYC
Soup du Jour, curated by Keith J. Varadi. Sadie Halie Projects, Brooklyn, NY
12″, curated by Chuck Webster. One River Gallery, NJ
Brushcrusher, curated by Gerasimos Floratos and Quintessa Matranga. Basement Show NY, NYC
2013
30 Years of Painting: George Pearlman at VSC and Family Group Show. Vermont Studio Center, Johnson, VT
Draw Gym, curated by Brian Belott. 247365 and Know More Games, Brooklyn (NY Times Review) What Are You Looking For?, organized by Brandy Carstens. 247265. Brooklyn, NY
Monkey Town 3, curated by Maggie Lee and Montgomery Knott. Eyebeam, NYC
CKTV, curated by Cleopatra’s and Chris Rice. BAM, Brooklyn: NY
2012
Sex Life, organized by Sex Magazine. Bodega, Philadelphia, PA (Artforum Critics’ Pick) BADABOOM-ARANG, curated by Brian Belott. The Gershwin Hotel, NYC
CKTV, curated by Cleopatra’s and Chris Rice. The 9th Shanghai Biennale, Brooklyn: City Pavilion, Shanghai, China
2011
Festival of Lights: America, curated by Jacques Vidal, Miles Huston and Brian Faucette. Know More Games, Brooklyn, NY
Personal Garage Exhibition, curated by Erin Dunn. Mason Gross School of Art at Rutgers, Newbrunswick, NJ
Dadarhea, curated by Jim Drain and Devin Flynn. Canada Gallery, NYC.
2010
Philadelphia Out Of Phase, curated by Justin Samson. Bodega Gallery, Philadelphia, PA Special K48 Silent Auction, curated by Scott Hug. Nicelle Beauchene Gallery, NYC
A Drive-In, curated by Jessie Stead. Work Gallery, Red Hook, NYC
2009
Out Of Order, curated by Scott Hug. Andrew Edlin Gallery, NYC
Pifas Cineplex, curated by Katie Miller and Jonathan Santoro. Pifas, Philadelphia, PA Heinrich Nicolaus: Theater of More, videos curated by Jessie Stead. White Box, NYC Apartment Show, curated by Denise Kupferschmidt and Joshua Smith. Envoy Gallery, NYC Multifaceted Female, curated by Athena Barat. Barat Foundation/Newarc, Newark, NJ
2008
Bobo’s on 27th, curated by Bobo. Foxy Production, NYC and Bobo’s on 9th, Philadelphia PA South Philly Biennial, curated by Athena Barat. Philadelphia, PA
2006
Cabin Comforts, curated by Saviour Scraps. Secret Project Robot, Brooklyn, NY The Black Sabbath Movie. Loyal Gallery, Stockholm, Sweden
2005
The Black Sabbath Movie. Monkey Town, Brooklyn, NY

PUBLICATIONS
2015
PMAN Plus, Annie Pearlman in collaboration with PAT Projects. Small Editions, Brooklyn, NY
2014
Tusen Hjärtan Stark #2. Published by Domino Books
Sub Rosa, edited by Anne Fellner. Published by Info-Punkt
2011
Dadarhea, edited by Jim Drain and Devin Flynn. Published by Canada Gallery, NYC
2010
Philadelphia Out Of Phase (2007-2009), published by Justin Samson
2009
New Shit : A Collection of Art and Writing edited by Caitlin MacBride

BIBLIOGRAPHY
2016
New York Times Art In Review, “Pam Glick, Annie Pearlman, Adrianne Rubenstein, Alyson Vega” by 
Roberta Smith
W Magazine Online June 3rd “Four Artists to Know Now At White Columns, Including an Instagram Discovery” by Diane Soloway
Observer June 2nd, “Weekend Edition: 8 Things to Do in New York’s Art World Before June 6” by Ryan Steadman
Art Lyst July 17, Art Review “Three Summer Shows in New York’s Chelsea You Shouldn’t Miss” by Gracie Brahimy
2015
New York Times “What Galleries to Visit on The Lower East Side” by Holland Cotter
Hyperallergic “The Formal Challenges of Figurative Painting” by John Goodrich 2013 New York Times “Brian Belott: Draw Gym” by Roberta Smith